“I started painting in order to hang my ideas on a nail.
This allows me to change them, thus avoiding fixed ideas.”
— Georges Braque, Cahier

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Reading Georges Braque’s Cahier revealed the need to let Come Neve evolve into something new — something that begins exactly where everything else came to an end.

If, in Come Neve, snow was observed from the protected distance of a window, now that same material crosses the threshold. It surrounds, invades and disorients the bodies. Snow becomes a storm.

Two bodies, once suspended in a fragile equilibrium, are exposed to the outside world. Their relationship evolves: it stretches, breaks, and continuously searches for a new possibility of coming together.

This new chapter does not deny the sense of wellbeing explored in Come Neve. Instead,

it moves through it. It puts it into crisis, dirties it, loses it.

The storm thus becomes a metaphor for growth: from childhood to awareness, from protection to responsibility,

from contemplation to action.

Two bodies remain at the centre of the stage, like two snowflakes carried by the storm.

They do not try to stop the chaos, but to inhabit it.

Their movement gradually loses definition in order to find a new form of presence: unstable, necessary, alive.

Snow is no longer something to look at. It is something to inhabit.

And what once seemed solid reveals itself to be fragile:

“a drop of water on these sugar loaves, and everything melts.”